If this is your life and it's ending one minute at a time, then you might as well have something good to read. Luckily, Chuck Palahniuk has got your back. The author, whose iconic Fight Club novel was adapted into the modern classic starring Edward Norton, Brad Pitt, and Helena Bonham Carter, revealed at Comic-Con this weekend that a series of graphic novel sequels will continue the story 17 years after the original book's publication.
After announcing the follow-up to his 1996 novel in San Diego, Palahniuk later confirmed the news in a tweet linking to an announcement on his fansite ChuckPalahniuk.net. The author says he is currently working on a "dark and messy" story with "artists and creators from Marvel, DC and Dark Horse" to create "a series of books that update the story ten years after the seeming end of Tyler Durden." This time, however, the story will be told from Tyler's perspective as he prepares to launch a come-back on the oblivious "Jack." Meanwhile, Marla and Jack's marriage "has run aground on the rocky coastline of middle-aged suburban boredom." When Tyler kidnaps the couple's little boy, "Jack is dragged back into the world of Mayhem."
Although a contractual obligation may prevent Palahiuk from launching the sequels "earlier than 2015," we're crossing our fingers that more mischief, mayhem, and soap will follow in a Fight Club 2 film immediately after.
Follow Lauren On Twitter @Lopay92 | Follow Hollywood.Com On Twitter @Hollywood_com
More:'Avengers' Actor Clark Gregg Takes Quick, Satirical Jabs At Blockbusters In 'Trust Me'Comic-Con: From Excitement To DisappointmentComic-Con 2013: Can't Miss TV
From Our PartnersBattle of the Bikini Bodies (Celebuzz)Complete Guide to Strippers in Movies and TV (Vh1)
Author Chuck Palahniuk is writing a follow-up to his hit book Fight Club in the form of a series of graphic novels. The original 1996 release, about an unnamed protagonist who struggles with insomnia, was turned into a Hollywood movie of the same name in 1999, starring Brad Pitt and Edward Norton.
Fans know him as the late (or based on his involvement in the S.H.I.E.L.D. TV show, resurrected?) Agent Coulson in The Avengers, but before and after his comic book career, Clark Gregg is a triple force actor/writer/director. Gregg added screenwriter to his resume after penning the 2000 thriller What Lies Beneath, then took the director's chair for the 2008 Chuck Palahniuk adaptation Choke. Now, after a few years rubbing shoulders with Marvel's superteam, he's back at Tribeca Film Festival with his latest and most vivacious work yet, a biting satire of the world Gregg has been immersed in for the last five years.
Trust Me follows child actor agent Howard (Gregg) as he traverses the seas of talent wrangling. At first, he seems like the typical down-on-his-luck shmuck, unable to secure prospective newcomers or hold on to the clients he has. Early on, we see Howard stuck in the middle between Hollywood dealmakers and a terrifying stage mom (Molly Shannon). Life clearly isn't cutting him a break, as he loses his negotiations and caps it off with a vehicular punch to the gut. Sam Rockwell plays rival agent Aldo, who appears whenever life needs to rub Howard's failures in his face.
Things pick up when Howard meets Lydia (Saxon Sharbino), a tween actress ready to bust out of her parents sloppy management strategy. She sees potential in the lackluster representative, and when she presents him with the opportunity to shepherd her in to the next big Young Adult franchise (a la Hunger Games), he seizes the opportunity. Contending with her alcoholic father, Aldo's studio ties, and Murphy's Law slapping him this way and that, Howard goes all in on Lydia — and it's only when he's up to his neck in Hollywood bulls**t does he realize he might be caught up in something dangerous.
Tonally, Trust Me glides back and forth between comedy and thrills like few others. Gregg's history working with the Atlantic Theater Company and dramatic titan David Mamet is apparent on every level here — what starts as a biting satire of Hollywood nonsense twists and turns into a full-blown thriller. It's not an elegant evolution, but it's dynamic, shocking, and absorbing. Trust Me kicks off with snappy dialogue that's overflowing with business jargon and weaponized for laughs. Gregg plays fast and loose behind the camera, convincing us that Trust Me is a Curb Your Enthusiasm riff on State & Main.
But as Howard's life takes an upward turn, Gregg's script steers to darker places and more dramatic turns. On the evening of Lydia's big audition, Howard rehearses lines and pushes the young actress to take the fluffy fantastical YA material seriously (a truly difficult task). Sharbino holds her on against Gregg in the comedic back-and-forths, but in an instance of acting-on-top-of-acting, she asserts as a real discovery. She blows Howard and the audience away.
From the very beginning, Clark chooses to soundtrack his jaunty look at the entertainment industry with a score straight out of neo-noirs. It's sparse and in opposition to what we see. But it's the perfect build-up to the third act, that goes off the rails in a welcome way. The movie daringly subverts expectations like no Marvel movie ever could. Gregg keeps peppering Trust Me with comedy (courtesy of the devilish studio executive played by Felicity Huffman) and heart (his relationship with Amanda Peet's next door neighbor/object of affection is quite sweet), but in the end, the lesson is clear: Hollywood is a frightening, bloodthirsty world and no one is safe to its traps. That's why the twists of Trust Me feel natural — for anyone with inside knowledge of the industry, success one day and complete failure the next is just another week on the job.
Follow Matt Patches on Twitter @misterpatches
More:Amy Morton Wows in Tribeca's 'Bluebird'Tribeca Discovers a Quintessential New York MovieTribeca: Why Can't Gay Movies Ever Have a Hollywood Ending?
The award-winning author of Fight Club was parked in a driveway next to a highway in Washougal when the driver of a semi-trailer truck lost control and smashed into Palahniuk's car.
The novelist told police his neck was sore but he was not taken to a hospital, according to the Associated Press.
The truck driver was not injured and received a speeding citation.
Palahniuk's most famous book Fight Club was adapted into a 1999 movie starring Brad Pitt and Edward Norton.
The Final Destination movies are basically just a whole lot of filler around some tasty, tasty death scenes. Really, no one watches those films for their meaningful plots or compelling characters. With this new video, you can get straight to the juicy bits, and watch every death scene, from the most basic sudden bus to the most elaborate Rube Goldberg contraption, in one convenient package. Plus, the very finest in "people horrified and covered in blood" reaction shots.
Which movie has the best deaths? I'd say Two has the funniest (especially the pidgeons!), but The Final Destination is a close contender, with its awful CGI and early 3D where everything Shoots! Out! At! Your! Face! Plus, an homage to the horrifying Chuck Palahniuk book Haunted. Let us know which film is your favorite in the comments.
If this video doesn't staunch your blood lust, Final Destination 5 crashes into theaters this Friday. Bring a friend with a strong stomach.
UPDATE: Whoops, just kidding about the whole Daryl Hannah part. According to Deadline, she's never even heard of the project and therefore certainly hasn't agree to star in it. Does this cast a pall on the other two actors slated to be in the film? Can we trust anyone or anything these days? What is the truth anyway? Wow, this just got a little too deep, considering these questions started because of a film about a woman trying to screw 600 dudes. Or is that even real?
Earlier: To say Chuck Palahniuk novels make for interesting movies is an understatement. Not only did he give us Brad Pitt shirtless spouting anarchistic ideology in Fight Club, we got Ed Norton blowing off half his face. To counter balance Gillian Jacobs as a stripper in Choke we got Sam Rockwell with anal beads. His latest novel ready for adaptation, Snuff, is sure to give us just as many indelible images.
Daryl Hannah will play Cassie Wright, an aging porn star who has one last grand plan for a big finish: setting the world record for having sex with the most men in one session. Her goal? 600. While that’s admirable, the story follows three men who wait in line for their turn. Mr. 600 (the men are only identified by their place in line) will be Tom Sizemore. He is the guy who introduced Wright to the business and plans on being the final stud. Thora Birch will play Wright’s personal assistant Sheila who is in charge of selecting who is next to have their way with Wright. The other two male characters (Mr. 137 and Mr. 72) have yet to be cast.
The film is being directed by Fabien Martorell, who doesn’t have a feature credit to his name besides helming a documentary on Lloyd Kaufman. Considering Lloyd Kaufman is responsible for Troma and most cheesy zombie b-movies, and any person willing to make a documentary on him must have the same sort of thinking, Martorell might just be the perfect choice for this film.
“A real movie.” That’s the phrase that one of my industry sources used to describe Eagle Eye (Dreamworks/Paramount), which debuts this Friday at 3,500 or so locations and on more than 4,500 screens. The movie reunites Hollywood’s hottest young star, Shia LaBeouf, with his director from the surprise hit Disturbia, DJ Caruso, and industry tracking is pointing toward a spectacular opening.
It is very hard to bet against LaBeouf, whose last 2 movies, Transformers and Indiana Jones and the Kingdom of the Crystal Skull, have grossed a combined $635M domestic and $1.5B worldwide. Prior to those sure-fire blockbusters came Disturbia, a nifty little Hitchcockian genre pic released last spring demonstrating the 22-year-old actor’s real appeal. He’s the classic everyman and, while some compared his performance to Jimmy Stewart in Rear Window, I agree with New York Daily News critic Elizabeth Weitzman, who wrote he is, “More John Cusack than Jimmy Stewart.”
Eagle Eye turns the Disturbia premise on its ear. In this yarn, LaBeouf isn’t “the watcher,” he’s “the watched.” According to tracking data, Under 25’s are buying into the surveillance paranoia suggested in trailers and TV ads. It feels very contemporary. Your BlackBerry can kill you--or at least tell “them” where you are at every moment. Technology is ubiquitous, and there is no escape. In reality, Caruso is really mining the great Alfred Hitchcock again. Think of a modern-day North by Northwest riff with LaBeouf and Michelle Monaghan instead of Cary Grant and Eva Marie Saint.
Director Caruso’s first mainstream box office success was Taking Lives, starring Angelina Jolie ($11.4M opening--$32.2M cume), but then he took a step back with the critical and commercial failure Two For the Money ($8.7M opening--$23M cume), starring Matthew McConaughey and Al Pacino. He struck paydirt with Disturbia, which opened with $22.2M then showed real playability to the tune of $80.2M domestic, and now he has LaBeouf in tow again. Eagle Eye will almost certainly be the director’s all-time biggest opening with something in the $28M range.
Females 25 Plus are showing great interest in the Warner Bros. romantic tear-jerker Nights in Rodanthe at over 2,500 locations on Friday. This is the 3rd film together for Oscar nominees Richard Gere and Diane Lane. Their first pairing was 24 years ago in Francis Ford Coppola’s troubled The Cotton Club ($2.9M opening--$25.9M cume). 18 years later, they teamed up with much better results in Adrian Lyne’s Unfaithful, which represented a breakout performance for Lane.
Not only did the actress, married in real life to actor Josh Brolin from the forthcoming W., earn her first Oscar nomination for Unfaithful (who can forget the remarkable sequence on the subway ride after her first dalliance with Olivier Martinez?), she also became the benchmark for graceful aging in Hollywood. Lane remains among the most beautiful actresses in the business and, contrary to Meg Ryan currently starring in The Women, she “appears” to have avoided the “cosmetic enhancement trap.”
Unfaithful scored $14M on opening weekend and generated a nifty $52.7M in its US theatrical run. Countless more have seen it on DVD and cable, and it is fair to say that older women are excited about seeing Lane and Gere together again. Add the fact that Nights in Rodanthe is based on a Nicholas Sparks novel, like the 2004 surprise hit The Notebook, and you have the makings of a good solid box office performance. The $10M-$13M range seems about right for Rodanthe, and I am calling for the high end of that range.
Last week’s winner Lakeview Terrace (Sony) will likely be #3 this weekend, down about 55% to $6.75M, while Spike Lee’s Miracle at St. Anna (Disney) will battle the Coen brothers’ strong-holding Burn After Reading for 4th. St. Anna is the 3rd new wide release this week, but it will open at a decidedly limited 1,100 or so locations. Lee has never been a movie hit-maker, but he had been more “commercially tone deaf” than usual for well over a decade until 2006’s Inside Man ($28.9M opening--$88.5M cume).
Spike has never been “Mr. Warmth,” but he has made some critical press blunders in advance of the release of Miracle at St. Anna. Picking a fight with industry icon Clint Eastwood is not smart. Complaining that he is a victim of “West coast bias” in Oscar voting is a mistake. Hollywood is talking about his new James McBride-penned WWII saga for all the wrong reasons. It remains to be seen just how strong the critical reaction to Miracle at St. Anna will be, but early reviews are on the negative side (33% Fresh on Rotten Tomatoes as of Wednesday morning). Tracking is so-so and moviegoers have shown very little interest in war-themed films in the last couple of years, but the picture should be able to deliver $5,000-$5,500 per location for approximately $5.8M.
There are 3 more limited releases of note this week led by actor-turned-director Clark Gregg’s Choke (Fox Searchlight), based on Chuck Palahniuk’s bestselling novel. On about 400 screens, the edgy pic, starring Sam Rockwell and Academy Award winner Anjelica Huston, could grab $4,500-$5,000 per location for an opening weekend approaching $2M.
Meanwhile, The Lucky Ones (Lionsgate), a new movie from director Neil Burger (The Illusionist) opening on 400 or so screens, will play a bit softer than Choke. Iraq War veterans, played by Oscar winner Tim Robbins, Rachel McAdams (The Notebook) and Michael Pena (Crash), on a cross-country road trip dealing with a nation divided by a controversial war is a premise badly in need of excellent reviews to succeed, and the movie is running at only 36% Fresh on Rotten Tomatoes as of Wednesday morning. Still, a PTA of $2,000-$2,500 is possible for a weekend gross of something shy of $1M.
Finally, Crane Movie Company is attempting to roll out a new vehicle featuring Sean Faris, the star of Never Back Down. There isn't much traction for the almost-as-generically-titled rugby movie Forever Strong, and it seems that an estimated $350,000 is in the cards.
FINAL PREDICTIONS FOR THE WEEKEND OF SEPTEMBER 26
1. NEW – Eagle Eye (Dreamworks/Paramount) – $28M
2. NEW – Nights in Rodanthe (Warner Bros) - $12.9M
3. Lakeview Terrace (Sony) - $6.75M
4. NEW – Miracle at St. Anna (Disney) - $5.8M
5. Burn After Reading (Focus) - $5.7M
6. Tyler Perry's The Family That Preys (Lionsgate) - $3.8M
7. Righteous Kill (Overture) - $3.7M
8. My Best Friend's Girl (Lionsgate) - $3.5M
9. Igor (MGM) - $3.1M
10. The Women (Picturehouse) - $3M
*NEW - Choke (Fox Searchlight) - $2M
*NEW - The Lucky Ones (Lionsgate) - $900,000
*NEW – Forever Strong (Crane Movie Company) - $350,000
Go to our Box Office section for recent weekend movie analysis.
When you realize that Choke originally came from Chuck Palahniuk the same twisted mind who gave us Fight Club you start to get the idea of what you’re in for. Adapted by writer/director Clark Gregg the film version can’t possibly match Palahniuk’s bizarre carnal universe but it will have to do. Medical school dropout Victor Mancini (Sam Rockwell) is basically a slacker sex addict working as a ‘historical interpreter’ at a theme park in New England which means he spends most of his day job boinking milk maids in the hay for pay. When he’s not on the job he and his buddy Denny (Brad William Henke) spend lots of time at AA-type meetings for sex addiction. It’s clear Victor was one screwed up dude growing up under the ultra-liberal and unconventional eye of his nutty mother (Anjelica Huston). Now mom is suffering from Alzheimers and in a home that her son pays for by staging near-death scenes in upscale restaurants. He pretends to choke on food and later snags some dough from his kindhearted (and wealthy) rescuers which he uses to support mommie dearest. The plot such as it is just gets wilder from there as Victor uses all his “talents” to get it on with his mother’s new doc (Kelly MacDonald) a woman with strange ideas of her own. Rockwell has not reached any kind of major stardom levels yet but in film after film he proves he’s an actor’s actor and one of the most inventive thesps around. Choke is no different. He lifts some dicey material and makes it work on the sheer force of personality morphing effortlessly into Victor ultimately winning over the audience and making this one-dimensional guy more complex than he has any right to be. He’s particularly good playing opposite Henke who has got the messed-up-loser-pal act down pat. They’re very funny together. Huston is weirdness personified but you have to admire her for even taking on this kind of kook. The other women are certainly pleasant to watch and just as loony as the rest of the cast. MacDonald scores in her scenes with Rockwell and so does Paz de la Huerta as a fellow sex addict who spends much of the sessions in the bathroom falling off the proverbial “wagon” with Victor. Bijou Phillips clearly has fun in the theme park scenes. Actor turned writer and director Clark Gregg certainly gets the tone of the strange Palahniuk world but steers this ship to mixed results. To be fair dark comedy like this isn’t easy to pull off even for the most experienced of directors and Gregg probably should have reined it in a bit. Where he does succeed 100 percent is in the spirited performances he has elicited from his cast particularly Rockwell who seems to be having a great time and it translates on screen. As an actor himself (he even has a role here as Lord High Charie manager of the theme park) Gregg understands the tightrope these performers are walking in bringing this kind of crazy quilt to life and he really lets them rip. Choke is a relatively small film designed for quirky tastes and on that level and for Rockwell’s manic performance it’s worth a look.